Maureen Paley

Today 16 May is the last day to visit our solo exhibition at the gallery by New Zealand born Los Angeles based artist Fiona Connor @fconnor.studio held at our new 4 Herald Street space. It brings together two series of works, “I haven’t arrived yet and Closed Down Clubs.” Seen here: Closed Down Clubs, Inangahua Arms Hotel, 2026 Douglas fir, glass, hardware, silk screen on coated aluminium foil and vinyl, surface coatings Original Site: 172 Buller Road, Reefton 7830, Aotearoa New Zealand (exterior and interior views) Closed Down Clubs, Papa Christo’s, 2026 plexiglass, aluminium joinery, mdf, silk screen on coated aluminium foil and vinyl, surface coatings Original Site: 2771 W Pico Blvd, Los Angeles, CA 90006 (exterior and interior views) “The process of remaking something requires obsession: you look at the object and you draw it and map it and work out how to remake it – in some sense you become the thing – and when it is made, although it reminds you of the original thing, it has a different sort of heat because it has been translated through another body and a different set of tools.” – #fionaconnor 2019. more information on our website link in bio #sculpture #installation #doors #lastchancetosee

Paul P. The Fugitive Marvels of Sunset 29 May – 25 July 2026 Private view: 6-8pm Friday 29th May at Maureen Paley, 60 Three Colts Lane E2 6GQ We are pleased to soon present the fifth solo exhibition of Paul P. at the gallery. The foundation of his practice for over twenty five years has been a series of portraits of anonymous young men, their images appropriated from gay erotic magazines produced between the late 1960s and the early 1980s; a period bracketed by the beginning of gay liberation and the onset of the AIDS crisis. He favours a head-and-shoulders format that is employed across many of his gem like portraits. He has written, “beyond the gay images from the 1970s, I look further back to Whistler, Sargent, Montesquiou, and Proust to locate the atmosphere in which to portray this physicality.” These defiant dandies of the late 19th and early 20th centuries sought to represent queerness under repressive law, deploying inflection, allegory, and inference as formal strategies (and forms of resistance), and it is these coded visual languages that he draws upon. Alongside portraits, there are works including bats emerging from dense clouds, laundry strung against a hazy sky, and a wave slipping into shore at night: subjects in which fading light renders beauty both transient and luminous. These paintings are organised around moments of threshold: twilight scenes in which deep shadows and silvery light coexist. His methodology considers desire, refinement and beauty, yet these considerations are edged with unease. The men depicted existed within a narrow period of freedom, and their individual fates remain unknown. In bringing together the coded visual languages of the Victorian era and the archive of post-Stonewall erotic culture, P. reminds us that certain freedoms remain cyclical, not assured. seen here: Untitled, 2025 oil on linen 35 × 27 cm 13 3/4 × 10 5/8 in Paul P. a new monograph of his work, was recently published by us in collaboration with Gregory R. Miller & Company and Greene Naftali, and is available to purchase at the gallery. #paulp #paintings #portrait #soloexhibition #savethedate

We are pleased to share exhibition views of 450XL: The Story of a Fugitive Sound, 2026 by @lawrenceabuhamdan now on view in Venice in CANICULA at Complesso dell’Ospedaletto a 16th century building, curated by @alessandro.rabottini artistic director and @leonardobigazzi curator of Fondazione In Between Art Film @fondazioneinbetweenartfilm The work stems from forensic investigations conducted by Earshot @earshot.ngo his audio research agency, following the deployment of a sonic weapon during a silent vigil in Belgrade in March 2025. Across fifteen screens, crowdsourced footage, black-and-white intertitles, and “earwitness” testimonies reconstruct what #lawrenceabuhamdan describes as a “fugitive sound” — a sound denied by authorities, undetectable to microphones, yet collectively experienced by thousands. Structured like a silent film, its 15 screens resembling protest placards, the installation reflects on the weaponization of sound against civilian protest, while returning attention to silence as a form of collective resistance and solidarity. As ever, in his guise as a “private ear" he investigates human rights abuses using sound as evidence. CANICULA and this piece in particular was recently featured in The New York Times @nytimes @friezeofficial and @guardian as one of the must-see off-site exhibitions on the occasion of this year’s Venice Biennale @labiennale On view until 22 November Don’t miss it ! Lawrence Abu Hamdan, 450XL: The Story of a Fugitive Sound (still), 2026. Fifteen-channel video, colour and B/W stereo sound, 19: Commissioned and produced by Fondazione In Between Art Film for the exhibition Canicula, 2026. "450 XL. The story of a fugitive sound" (with an amazing musical score by @_james_hoff ) installed in the old music room, surrounded by frescoes of musicians. Courtesy of the artist; Fondazione In Between Art Film; Maureen Paley, London; mor charpentier, Paris @morcharpentier Sfeir-Semler, Hamburg/ Beirut @sfeirsemlergallery #installation #video #audio #fondazionebetweenartfilm

‘Encantados’ is a new, limited-edition engraving by Paulo Nimer Pjota @paulopjota made to coincide with his first institutional UK exhibition @southlondongallery ! The sun, stars and moon are recurring motifs in his cosmos, as are ancient and modern vases, shells and invented characters and vessels, often brimming with flowers and hybrid plants. All proceeds from this edition’s sales will directly support the exhibition, events + communities & learning programmes at #southlondongallery ! Details: £400 (£360 members) Edition of 40, signed and numbered Metal engraving, Hahnemühle, 300g 390 × 350 mm, unframed Printed by Atelier Graphias - São Paulo, Brazil SLG has a partnership with @frame_london and can offer a 20% discount on your frame through their referral scheme. They also partner with Own Art @own.art for a more affordable way to collect art. Contact them at [email protected] for further information and assistance. #paulonimerpjota #edition #support #purchase

@guggenheim_venice always a pleasure and an inspiration 🌊🩵💙 #guggenheimvenice #peggyguggenheim #moranoglass #visit

Michael Armitage @palazzo_grassi is a must see in Venice. Here is a detail and an image of: You, Who Are Still Alive, 2022 Oil on Lubugo bark cloth loaned from Kunstmuseum Basel @kunstmuseumbasel In the last decade, Armitage has employed Lubugo barkcloth from Uganda, a fiber created from the Mutuba (Ficus natalensis or natal fig) tree’s inner bark that is beaten until flat and historically used by the Baganda people to bury their dead It is shaped by artisans and has been declared as a “Masterpiece of Oral and Intangible Cultural heritage” by UNESCO in 2008. As a material from a regenerative plant source that can live for six decades, it is found in the equatorial regions from Africa, Asia, the Americas to the Pacific. The artist first encountered this material in a tourist market in Nairobi, Kenya, and he decided to use it as a support for his paintings, in lieu of the canvas used in the Western tradition. Recently, Armitage has been using barkcloth from Sulawesi and Sumatra in Indonesia. Various artists in East Africa and Asia have used the material to paint, collage, weave and emboss on it. #michaelarmitage #palazzograssi #painting #exhibition #venice @michael_armitage_studio

In a recent interview with Michael Bullock @michaeljbullock Wolfgang Tillmans @wolfgang_tillmans discusses his relationship to Fire Island and how this specific location and community has influenced his artistic practice. “Most of the works I’ve made here are photographs of nature—of the ocean and the shoreline in particular, where liquid meets solid and air: the vapor, the clouds. These three elements meeting at night, in the day, lit by the moon, lit by the sun-all twenty-four hours of the day...This situation has made me very attuned and allowed me to take pictures that I wouldn’t have been able to otherwise.” The interview was originally published by Monacelli and now in “Fire Island Art: 100 Years” (2026) @phaidonpress edited by John Dempsey @johnfdempsey the first book to survey the rich history of a beloved destination and queer cultural haven. Read the full interview in @aperturefnd #wolfgangtillmans #fireisland #interview #photography #publication Images: 1. Wolfgang Tillmans. “Fragile Waves,” 2016 2. Wolfgang Tillmans. “Deer Hirsch,” 1995

Lawrence Abu Hamdan @lawrenceabuhamdan in the FT Weekend @ft_weekend . Interviewed by Tom Faber @tomfaber91 with a portrait by Cheb Moha @chebmoha Lawrence’s new multi-channel video installation ‘450XL:The Story of a Fugitive Sound’ has been commissioned and produced by Fondazione In Between Art Film @fondazioneinbetweenartfilm for ‘Canicula’, the final chapter of a series of exhibitions curated by Alessandro Rabottini @alessandro.rabottini and Leonardo Bigazzi @leonardobigazzi that has seen the Complesso dell’Ospedaletto in Cannaregio transformed into cinematic architecture for the last three editions of the Venice Biennale @labiennale This autumn in London, Lawrence will take over the Barbican @barbicancentre with a series of installations, performances, screenings and live music. In addition, Lawrence and Earshot @earshot.ngo will present Ibraaz’s @ibraazlondon next Library-in-Residence. They are currently newly located @gasworkslondon From the FT: Though his range may appear sprawling, at the heart of Abu Hamdan’s artwork is a simple goal: to encourage audiences to listen more deeply to the world around them. After encountering his pieces, you find yourself tuning in differently to the sound of a plane overhead, or a key turning in a lock. There are truths to be discovered hiding in all the noise, if you simply learn how to hear them’. #lawrenceabuhamdan #financialtimes #interview #venicebiennale #privateear

Encantados at @southlondongallery curated by @margotjheller is now open. This is the first solo exhibition by @paulopjota in a public institution in the UK Paulo Nimer Pjota is an artist who predominantly works in oil, tempera and acrylic on canvas. His paintings draw on art history, popular culture, mythology and folk tales, merging multiple references to create new, imaginary worlds. His approach borrows from the sampling and remixing practices adopted in Brazilian hip-hop and rap music, as well as on his experience as a graffiti artist as a teenager in Brazil. The exhibition in the Main Gallery at SLG showcases a new series of large paintings set against an expansive mural painted directly onto the gallery walls. Magical environments are populated by mythical characters, animals and imaginary beasts. The sun, stars and moon are recurring motifs in Pjota’s practice, as are vases, shells and other vessels, often brimming with flowers and plants. The presence of music is also embraced in his work with imagery that refers directly to this. Paulo Nimer Pjota (b. 1988, São José do Rio Preto, Brazil) lives and works in São Paulo. Seen here: PAULO NIMER PJOTA El Dorado, 2025 acrylic, oil and tempera on canvas 210 x 163.5 cm 82 5/8 x 64 3/8 in #paulonimerpjota #southlondongallery #soloexhibition #painting #wallmural

1 May I’m celebrating the full Flower Moon coinciding with Beltane! Quite rare… and 1st May is the midpoint between the spring equinox and the summer solstice. It’s also International Workers’ Day. #mayday #maypole #beltane #celebration #illumination

Waxing gibbous moon seen walking.... soon approaching the full Flower Moon 1 May (Beltane) in Scorpio and bringing growth, illumination and awakening. May will have two full moons - the second being a blue moon on the 31 May... #moon #cosmos #waxinggibbous #lunation #may 🌓

This new painting by @kayedonachie is currently on view in a group exhibition that just opened 25 April @kettlesyard in Cambridge. Handpicked: Painting Flowers from 1900 to Today. While creating ‘Monument to Every Moment’ seen here, she was researching the work of Mary Potter (1900-1981), an artist known for her muted, enigmatic paintings. The bluish tint in this painting refers to Potter’s seaside home and studio in Aldeburgh, on the Suffolk coast. The title juxtaposes the permanent (‘monument’) and the fleeting (‘moment’), a temporal confrontation particularly resonant in the making of paintings. Kaye Donachie Monument to Every Moment, 2026 oil on linen 51 x 35.5 cm 20 1/8 x 14 in #kayedonachie #painting #portrait #kettlesyard #roses